Archive for the ‘120 On SAL’ Category


16.06.2010

120 On SAL: The Figgs

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The other day I was on the hunt for a copy of the 1998 album Couldn’t Get High by the Saratoga Springs, New York power-pop band The Figgs. Having been a fan for some time, I decided to pick up the releases needed to complete their discography and Couldn’t Get High was one of them. After only finding it online for the price of a new CD (although it is an import so I guess it’s not that bad), I decided that I was going to go the cheap route and see if any of my friends had a copy that they could burn for me.

I sent messages to several of my friends across the country, friends that share my passion for independent music and that I respect for their knowledge and dedication as music collectors. Time after time, the responses that I got were “Who are they?”, “Never heard of ‘em”, and “Don’t know that band”, and time after time I was surprised. How could this be? The Figgs have been around for almost two decades now and are one of my favorite power-pop bands. After these responses, it came clear to me that I had to write about this seemingly hidden gem.

Under the original moniker Sonic Undertones, the band formed in 1987. They changed their name shortly thereafter at the request of a label-head that they were about to signing with, who stated that Sonic Undertones was unoriginal. The deal with that label fell through, but the name stuck and The Figgs pushed on.

After releasing two cassettes (remember those things?) in 1992 (Ginger) and 1993 (Ready Steady Stoned), the band was picked up by Imago Records, which had acts such as punk icon Henry Rollins, Pere Ubu and Love Spit Love on its roster over the years. That next year saw the band release their first and only album with Imago, Lo-Fi at Society High. Lo-Fi saw the band receive some attention from critics and college radio, even having the video for their song “Favorite Shirt” played on MTV’s 120 Minutes.

The attention that Lo-Fi garnered for the band caught the eyes of Capitol Records and the band was quickly signed for the release of the album’s follow-up. Banda Macho, which was released in 1996, continued The Figgs power-pop sound with a punk rock edge that drew in many fans of the band, including myself. It may not have been as good as Lo-Fi, but it is still an enjoyable record without any doubt. However, due to the major label spin cycle of attempting to cash in on the independent and punk movements and exceedingly highly sales expectations, The Figgs, like so many others in the mid-nineties, parted ways with Capitol Records after just one release, but again, The Figgs pushed on.

It was around this time that The Figgs, while also writing and recording their own original material, have served as the back-up band for legendary British rock singer Graham Parker. They even worked with him on his release Songs of No Consequence nine years later. The boys have also cut their teeth playing and touring with Tommy Stinson, bassist for The Replacements.

Since leaving Capitol, the band has released six studio full-lengths for various independent labels, including the ambitious double CD Palais and their latest effort The Man Who Fights Himself, which was released just last month. Among those releases are fan favorites “Couldn’t Get High” and “Sucking In Stereo”. As the years have passed, the band has given up that rougher punk edge to their power-pop in favor of a sound that is more mature and rock-based, but they continue to release great records that are catchy and well executed.

So I eventually decided that I would spend the money necessary to purchase Couldn’t Get High and expect it any day in the mail. I can’t wait to get my ears on it and will share my thoughts on it with you in the comments section below. I am so happy that The Figgs are pushing on.

www.myspace.com/thefiggs

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16.12.2009

120 on SAL: Knapsack

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When high school friends Blair Shehan and Colby Mancasola formed the band Knapsack in 1993 while studying at the University of California at Davis, little did they know that they would help to create a movement that would be so big that their band would get buried beneath it; never getting the attention or credit they were due.

Shortly after forming Knapsack, vocalist/guitarist Shehan, drummer Mancasola, guitarist Jason Bokros and bassist Rod Meyer released a 7” on the San Diego label Goldenrod Records and took to the road. The band would later become known for their relentless touring schedule, which only helped the foursome build a fan base beyond California. By May of 1994, the band had signed with Alias Records to begin on their debut full-length.

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11.11.2009

120 on SAL: Engine 88

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If I told you that a particular band in the 90’s opened for the likes of Jawbreaker, Gang of Four, Counting Crows and Jawbox, while also sharing the stage with Green Day, Ben Folds Five, Nada Surf and The Butthole Surfers, you would have to think that this band would have been pretty successful in that era, right? Sadly, that is not necessarily the tale of the San Francisco Bay area band, Engine 88.

Playing their first show in April of 1992, Engine 88 (who were initially called Engine, but later changed their name to Engine 88 to avoid a legal battle with a Florida band of the same name) quickly built their brand of rapid, quirky rock while also building a solid fan base in their local community. The band’s growth could not have been timed any better, as record labels big and small were flocking to the Bay Area after bands like Rancid and Green Day started selling records by the thousands. In the fall of 1994, in the presence of A&R reps for Caroline Records, the band played a show at the Bottom of the Hill in San Francisco. After getting everyone in the crowd to simultaneously eat Pop Rocks candy as they played their set, they signed a two record deal with the label.

Engine 88 released their debut album Clean Your Room in 1995. Personally, this is my favorite Engine 88 record that I still adore to this day. Clean Your Room brilliantly mixes elements of punk rock with pop and even alternative rock to create a chunky driving sound, drawing comparisons to Fugazi, Superchunk and Pavement. Throw in singer Tom Barnes’ pleasantly peculiar voice and this album is truly unforgettable. Anchored by songs such as stand outs “Mangos”, “The Bottle” and “GTO”, the band churns out great song after great song. To support Clean Your Room the band toured the Midwest and even made it over to the East Coast for a run.

Caroline upped the ante on their 1997 follow-up, enlisting star producer Tim O’Heir to work with the band on the record. The result was Snowman, a record that took a bit of a more melodic turn for Engine 88 from Clean Your Room. This is an excellent record that would please fans of Clean Your Room, but would also allow the band to seek a wider audience. It thankfully wasn’t an overt move or a departure for the band, but rather that small step forward in the right direction. Songs like “Ballerina” and “Manclub” stand out on the record with their poppy, energetic sound. Snowman received great praise from the critics, but it failed to catapult the band to the airwaves of alternative radio that they had hoped for. Engine 88 supported the new record by opening for Counting Crows along the Great Lakes and the Midwest, playing bigger venues the band had seen before.

It was during this tour where the band realized that the dreams they had for Engine 88 would never come to fruition. Now without a label after fulfilling their deal with Caroline, the band felt that they would never be able to achieve the success that they were after and deciding to throw in the towel in late 1997.

Before their demise, Engine 88 had recorded some songs that they were very proud of and decided to release them posthumously. Flies and Death n’Stuff was released in 1998 on Wingnut Records. While very good, some of the songs on Flies sound like the band is trying to channel Sunny Day Real Estate, rather than playing their aggressive and witty brand of punk/indie rock.

Every time I listen to Clean Your Room and Snowman, I ask myself to this day what could have been if Engine 88 had decided to keep charging forward on the road and in the studio. While they may have never achieved the type of commercial success they were seeking, they may have attained more of a cult status like some of the bands they opened for did.

www.myspace.com/engine88

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14.10.2009

120 on SAL: For Squirrels

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As music fans, we hear time after time about a band calling it quits. Ego, personality conflicts and “creative differences” drive band members apart, and the music stops. While the story of For Squirrels ends ultimately with a break up, their tale is filled with much more tragedy and sorrow.

Formed in Gainesville, Florida in 1992, For Squirrels had a pop sound influenced by the likes of the Lemonheads mixed with driving guitars of the popular alt-rock bands of the time such as R.E.M. The band, Jack Vigliatura on vocals, guitarist Travis Tooke, Bill White on bass and drummer Jack Griego self-released their debut album Baypath Rd. in 1994.

Baypath Rd. received little attention (in fact, as a fan of the band, I didn’t even know this album existed until I started to write this piece), despite it being a very solid and cheerful record. The album opens with “Flagboy”, which has a harmonica intro mixed with sunny rhythms that would have fit in perfectly on any indie or college radio stations rotation without a hitch. This debut record highlighted For Squirrels’ potential to construct excellent songs that could reach a broader audience if given the chance. What set For Squirrels apart from the mainstream of the day was the juxtaposition of their catchy, bright sounds and Vigliatura’s unique, gritty voice.

The band was able to take this sound to the next level with their amazing follow-up, Example. After touring and releasing their EP Plymouth, which was a re-release of five tunes from Baypath Rd., the band was signed to Sony/550 Music for the release of Example. Released in October of 1995, Example features the sound started on their first record, but expands it by leaps and bounds. From the sonic sounds of the opener “8:02 PM” to the poppiness of “Orangeworker” and “Under Smithville”, every facet of the band’s sound improved with this new record. What is so gripping about this record is how Vigliatura grows as a singer. There is an aggression deep under the surface in his voice that you feel is waiting to explode to the surface like a volcano on the brink of eruption.

Example was anchored by the single “Mighty K.C”, a song about the untimely death of Nirvana frontman Kurt Cobain. “Mighty K.C.”, clocking in at 5:39, is the most dynamic song on the record and is able to encapsulate For Squirrels’ full range. Beautifully wavering between Vigliatura’s coarse, intense vocals and smooth, polished pop, “Mighty K.C.” was a minor radio hit, but received a lot of airtime from MTV’s 120 Minutes.


For Squirrels – Mighty K.C. (Official Music Video)

The tragedy that surrounds Example is that half of the band would never get to see their major-label debut see the light of day. On the afternoon of September 8, 1995, just three weeks before Example was to be released, For Squirrels was headed back to Florida after playing at the CMJ Music Marathon at CBGB’s. 50 miles South of Savannah GA, the van’s tire blew out causing their out of control vehicle to overturn. Vigliatura (age 21), White (age 23) and tour manager Tim Bender (also 23) all died at the scene. With the drastically premature deaths of these three young men, For Squirrels as we knew it was gone in an instant.

Surviving members Tooke and Griego, who suffered serious injuries in the crash, regrouped to play For Squirrels songs and other covers under the band name Revolver. They even reclaimed the name For Squirrels for a short while before going in a different direction. In the summer of 1997, the band that was Revolver renamed themselves Subrosa and began to write and record new music, releasing Never Bet The Devil Your Head later that year. They remained active until 2001, even opening for mainstream rock band Creed.

But in my eyes, For Squirrels disbanded on that fateful Autumn day in 1995. Not as the result of conflict among band members or differing aspirations, but rather the horrific deaths of Vigliatura, White and Bender. We should remember them through the songs that they loved and ultimately gave their lives to make.

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23.09.2009

120 Minutes on SAL: Poole

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09.09.2009

120 Minutes on SAL: Slow Gherkin

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Slow-Gherkin

Whether you love it or hate it, it’s impossible to think of independent music in the 90’s, especially the mid 90’s, without thinking about ska. The upbeat, horn-infused rhythms that originated in Jamaica in the 1950’s were being mixed with the aggressive and hard-charging sounds of punk rock throughout the decade. With bands like Reel Big Fish, The Mighty Mighty Bosstones and Less Than Jake seeing various degrees of commercial success, the latter half of the 90’s was flooded with every kid who knew how to play a trumpet or saxophone forming a ska band and releasing records.

While this over saturation may have led to the crashing of the third wave, there were many talented ska bands in this era that did not get their due. From time to time on this feature, I’ll be profiling those bands that were lost in the shuffle of plaid and oi oi oi’s. Up first: Slow Gherkin. Hailing from Santa Cruz, California, this octet brilliantly melded ska, jazz, punk and other international flavors to their brand of music and became legends in their hometown.

Slow Gherkin released their first album Double Happiness in 1996 on Asian Man Records. Asian Man, which is still going strong today releasing punk and ska records, was started by Mike Park of Skankin’ Pickle fame. Double Happiness is a very good record, but upon listening to it, you can tell that the band has the talent to do something great, but are still young and trying to hone their sound as they stumble (at times) through their debut. That greatness is realized, however, on their follow-up, 1998’s Shed Some Skin (also on Asian Man). Packed with energy, blazing horns and bouncy, witty vocals and lyrics, Shed Some Skin is definitely Slow Gherkin’s tour de force. I will actually take that one step further and say that the record is one of the best ska albums to come out of the 90’s. Where some ska albums get lost in silliness, Shed Some Skin is cohesive, exuberant and catchy. The album explodes right from the word go on the opening track “Trapped Like Rats in Myers Flats” and doesn’t let up. The band shot a video for another standout track on the record called “How Now Lowbrow”, complete karaoke singers and a bouncy ball to follow lyrics.

In 2001 the band released Roman Holiday, which is a collection of their work from 1998-2000, containing several songs from Shed Some Skin. The band followed that up with their third and final studio album, Run Screaming, which in my opinion was a fitting title for the album. For some reason on this record, the band abandons their unique, amazing ska sound for more of an indie-rock sort of feel. After listening to Run Screaming a number of times I just couldn’t figure out why the band made this disappointing change and hoped that they would find their way back on their next record. Sadly, that opportunity never came as the band split up shortly after the release of Run Screaming in 2002.

When I look back to the ska-boom in the 90’s, I’ll always look back to the bands that didn’t quite get the attention they deserved. And then I will definitely put Shed Some Skin on my iPod and smile.

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19.08.2009

120 Minutes on SAL: Black Train Jack

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New York City’s Black Train Jack holds a unique distinction with me as a music fan. They are the only band that I have ever written a fan letter to. I am not talking about an email or a myspace comment; I am saying an actual pen to paper and drop it in a mailbox fan letter.

After hearing their second album You’re Not Alone, which was released by Roadrunner Records in 1994, I wanted to tell the band how much I enjoyed the record and their punk version of Steve Miller Band’s “The Joker”.

What stood out to me with You’re Not Alone and their previous release No Reward (released on Roadrunner as well, in 1993) was how they could skillfully mix the catchiness of pop punk with the aggression and heaviness of hardcore. From You’re Not Alone, the song “What’s the Deal” highlights their talent of creating poppy songs that you bob your head to as you hear pounding bass beats.

The band also had a more positive message of a drug-free, violence-free lifestyle as evidenced by the track “Not Alone”. With lyrics like I don’t hurt myself internally/I’m poison free intentionally/A choice I made a long time ago/Because doing it up Friday nights/Going out and starting fights/These are things I don’t need to know and Because this is life and you’re in it/You’re the one who’s got to live/Take your time and choose your own way, Black Train Jack told the listener to forge their own path and to tread down the ones that are chosen for them.

The album’s only single, “Handouts” is still one of my favorite jams to this day. Black Train Jack also put out a video for the song about the struggles of friendship, featuring singer RoBorn wearing a work shirt, black sunglasses and a hat turned backwards: the complete 90′s punk uniform.

A few weeks after sending my letter I received a zine-style newsletter from the band with a note on the front thanking me for my letter and for listening to them. Unfortunately I never received another piece of mail from them or heard another new tune from them, as they broke up shortly thereafter. While these diehard New York Yankees fans parted ways, their simple, yet distinctive punk rock sound continues to thump through my speakers.

For fans of Black Train Jack and guitarist Ernie Parada, check out his new band, Higher Giant.

12.08.2009

120 Minutes on SAL: Shades Apart

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We are resurrecting an old feature here at SAL but Jeff Takacs, the man behind Rocket Fuel podcasts (which are awesome by the way!), will be taking the lead. I might chime in here or there but the feature will be more in depth than before with Jeff now at the helm. And while I understand that 120 Minutes showed music videos not all the posts on “120 Minutes on SAL” will have videos accompanying them…but of course some of them will…grainy video or not! The title and the feature have more to do with the spirit of the show than anything else. Of course old guys like Jeff and myself grew up on 120 minutes in the 90′s and I’m excited about this feature! Thanks Jeff! – Will

As someone who spent his entire high school and college years in the 90′s, I spent way too much time watching 120 minutes, listening to WDRE in my hometown of Philadelphia, and playing Sega and eventually, Playstation.

While the decade was dominated by the emergence of Alternative Rock, Grunge and Gangsta Rap, it was also a great decade for independent music. There were many, many talented bands in the 90′s that didn’t get their due or the attention they deserved. The goal of this feature is to shine a little light on some of those bands and music that still stands up to what’s being released today.

Although they technically formed in 1989 and split up in sometime between 2002 and 2003, Shades Apart released two stellar albums for Revelation Records. 1995′s Save It and 1997′s Seeing Things, featured the band‚Äôs crunchy and fast-paced, yet melodic sound. Both records were produced by the dynamic duo of Bill Stevenson and Stephen Egerton, both members of seminal punk rock bands Descendents and All. This production team has their fingerprints on many of your favorite punk rock records.

The Bridgewater, NJ band did gain some exposure for the video of their Soft Cell cover of “Tainted Love”. The video featured a Cyrano de Bergerac-themed performance of a punk god playing along to the song with the band behind him jamming out live. What stood out to me visually was the upside-down hockey stick used as a mic stand by Mark V., Shades Apart’s guitarist/singer.

The band was later signed to Universal Records, releasing two decent albums, 1999′s Eyewitness and 2001′s Sonic Boom. While these records are very good, the band turned to a more polished sound that might have been more acceptable to a wider audience, even earning a track on the American Pie soundtrack.

While I still listen to their latter two records on occasion, it is the Revelation-era Shades Apart that I continue to remember and continue to turn to when I want to give them a listen.

19.10.2008

120 Minutes on SAL – The Replacements “Merry Go Round” Video

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- An appropriate song for the night.

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29.11.2007

120 Minutes on SAL – Jawbox “Savory” Video

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“Savory” comes from Jawbox’s 1994 major label debut, For Your Own Special Sweetheart.

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13.11.2007

120 Minutes on SAL – Archers Of Loaf “Scenic Pastures” Video

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Archers Of Loaf were a great indie rock band from Chapel Hill, NC. “Scenic Pastures” comes from the band’s fantastic 1996 album, All The Nation’s Airports.

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08.11.2007

120 Minutes on SAL – Rocket From The Crypt “On A Rope” Video

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This new feature is for all the old folks like myself in the house. For much of the 90′s, 12am-2am on Sunday nights was usually spent watching (and VHS recording) 120 Minutes on MTV. If you don’t know, it was a show that ran from 1986-2000 and played underground/indie/punk music videos. You know, back when MTV actually played videos. Good ole’ Matt Pinfield!

I distinctly remember seeing this video. “On A Rope” comes from Rocket From The Crypt’s awesome 1995 album, Scream, Dracula, Scream!

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